DEIXA QUE EU “CANTO” A MINHA HISTÓRIA: BIA FERREIRA, KATÚ MIRIM E EKENA, INTERSECCIONALIDADES E ARTIVISMOS NA CENA MUSICAL BRASILEIRA DA ATUALIDADE

Abstract

This dissertation analyzes some musical works and public interventions of three female singers - Katú Mirim, Bia Ferreira and Ekena -, who are part of the current brazilian musical’s artivist scene, in order to think about how they produce intersectional discourses. The relevance of the research is in the possibility of contributing to specialized literature on the current artivist scene in Brazil, visibilizing the micropolitics of (r)existences. The methodology used is based on intersectionality in dialogue with black, decolonial and queer feminisms to analyze some of the artists' works, as well as some interviews and artistic performances found on the internet. The theories allowed the approach towards the complexity of their works and helped us to understand some of the topics and problematizations produced by these female singers, that pointed out countless avenues of crossed oppression and also how these intersections contributed to the production of their works. Besides the intersection between race, gender, sexuality and musical artivism, other topics such as: performance; education; afrofuturism; affection; survival techonlogys; colonization; adoption; social medias; ancestrality; resistance; healing; streets; transgressions; fatphobia; generation; religion; body; territory; motherhood; social class; social institutions; and belonging, also appeared in their works. Here, some of these topics wore approched in depth. Considering this multiplicity, we understand that this dissertation does not end the discussions around what the life and work of these singers can inform us in terms of intersectionality, it only begins. One of our understandings was that for Katú Mirim music is an answer, for Bia Ferreira it is a transformation, information and learning tool and for Ekena it is healing. Our conclusion was that the interrelationships contribute significantly to the production of singular subjectivities and subjects and also to unique artivist scenes, althought, at times, there is a dispute of similar narratives such as anti-racism. We understand that this knot (bonding, crossroad) built by an we (collectivities) claims other constructions and other possibilities of an us (crossroads and communities), a more interdependent one because vulnerability is human, but rejects precariousness.